Composer/keyboardist/producer Elodie Lauten creates operas, music for dance and theatre, orchestral, chamber and instrumental music. Not a household name, she is however widely recognized by historians as a leading figure of post-minimalism and a force on the new music scene, with 20 releases on a number of labels.

Her opera Waking in New York, Portrait of Allen Ginsberg was presented by the New York City Opera (2004 VOX and Friends) in May 2004, after being released on 4Tay, following three well-received productions. OrfReo, a new opera for Baroque ensemble was premiered at Merkin Hall by the Queen's Chamber Band, whose New Music Alive CD (released on Capstone in 2004) includes Lauten's The Architect. The Orfreo CD was released in December 2004 on Studio 21. In September 2004 Lauten was composer-in-residence at Hope College, MI. Lauten's Symphony 2001, was premiered in February 2003 by the SEM Orchestra in New York. In 1999, Lauten's Deus ex Machina Cycle for voices and Baroque ensemble (4Tay) received strong critical acclaim in the US and Europe. Lauten's Variations On The Orange Cycle (Lovely Music, 1998) was included in Chamber Music America's list of 100 best works of the 20th century.

Born in Paris, France, she was classically trained as a pianist since age 7. She received a Master's in composition from New York University where she studied Western composition with Dinu Ghezzo and Indian classical music with Ahkmal Parwez. Daughter of jazz pianist/drummer Errol Parker, she is also a fluent improviser. She became an American citizen in 1984 and has lived in New York since the early seventies

Visit Elodie Lauten's Web Site
Sunday, May 10, 2009
Reason Producers’ Conference

Shamelessly retreating from a beautiful sunny day I spent Saturday afternoon watching the new and newsworthy of the Reason 4 software, presented by its makers, Propellerhead. The event took place at Clinton Studio on 10th Ave. According to an informal survey of the participants, most users of this production tool are in advertising, television and film, hip hop, country, rock – but not in experimental or classical music although in my experience it works just as well in these styles.

I got hold of an earlier software package by Propellerhead as early as 2003 and before Finale had the capability to play back with the Garritan sound library, I used to export my Finale midi files into Reason to demo and mix the orchestral tracks. Reason has come a long way since then.

The current Reason 4 package works in a similar fashion as a modular synthesizer to offer powerful desktop production possibilities in sampling, synthesis, sequencing, with particularly efficient drum programming tools. The new “Thor” virtual synthesizer seems to offer infinite flexibility because any of its various modules can be routed to control another, in other words allows the users to practically build their own virtual synths. In addition, as was demonstrated at the workshop, the multiple effects in Reason can be combined to afford mastering-level precision.

The only thing that Reason does not do is: audio recording… but all you have to do is get the latest Pro-Tools (version 7 and 8) and from that program choose the Reason plug-in and both programs can be used simultaneously.

I really enjoyed the unpretentious and informative presentation by producer Chris Petti, who is about to start a New York Users Group for Reason… something to follow closely; Also presenting were Chris Griffin, Aaron Albanoand Ben Weinman. I hope we can get more of these events in New York.